Movie Review The Killer

The Killer (2023) 

Directed by David Fincher

Written by Andrew Kevin Walker 

Starring Michael Fassbender, Tilda Swinton

Release Date November 10th, 2023 

Published? 

Is David Fincher's The Killer a comedy? I'm genuinely asking this question because I think Fincher is messing with us. The Killer is oddly sly, talky, and carries an almost entirely ironic needle drop soundtrack of songs by The Smiths, that most melancholy, death-obsessed, of pop groups. A killer who relaxes by listening to The Smiths is an irresistible comic idea. I asked my music obsessed sister about making a movie about a contract killer with a soundtrack full of Smiths songs and she responded, not knowing I was talking about the new David Fincher movie, 'That's a bit too spirited and haunted of an idea. The Smiths are 'a bit too acutely perfect for it.' 

Putting aside for a moment that The Smiths lead singer, Morrissey, is now a toxic waste dump of a human being, the soundtrack does feel like a bit of a joke. That's especially true when you combine the soundtrack with Michael Fassbender's insanely relaxed performance that slowly starts to unravel as his nameless killer is forced to go on the run and hunt down killers who are now hunting him after he botches a job in Paris in the opening 'chapter' of the movie. The needle drops are mostly early in The Killer but they have a perversely comic edge to them. 

As Fassbender delivers an inner monologue to us in the audience about his work as a killer for hire, Fincher punctuates the scene by raising and dropping the volume on the Smiths' song "How Soon is Now." Pointedly and purposefully, after Fassbender's killer says "I serve no God or country, I fly no flag." The volume rises on How Soon is Now as Morrissey sings "I go about things the wrong way." It's as if the music Fincher chose for this scene is intended as a critique of his main character. This motif repeats moments later when Fassbender intones his personal thesis statement "I...Don't...Give...A...F***" the soundtrack rises again and Morrissey sings, as if in conversation with the movie, "I am human and I need to be loved." 

Do I think this is Fincher saying that a hardened, sociopathic murderer just needs to be loved? No, I think, in the world and mind of David Fincher, this is humor. This is Fincher mocking the idea that someone this cold blooded, this seemingly without remorse, could be saved by a good hug and a cuddle. That's what I thought when the scene was playing out anyway. By the end of the movie, Fincher seems to have come around on the idea of the transformative power of love, at least a little, at least as a way of ending the movie. 

There are other elements of dark and twisted humor in The Killer. After his failed shooting at the start of the movie, as Fassbender is riding a scooter to get away from the scene of the crime, Fassbender says the line 'WWJWBD, What Would John Wilkes Booth Do?' Is the line funny? Kind of, at the odd angle that David Fincher comes to it, it's kind of funny and Fassbender's relaxed, calm delivery of the line almost feels like he's acknowledging the dark comedy of such a statement. I am only amused by the line as I sit here, while watching it, it rang a bell in my mind that it was an odd statement but I quickly moved on from it. 

Click here for my full length review at Geeks.Media. 

Movie Review: The Social Network

The Social Network (2010)

Directed by David Fincher

Written by Aaron Sorkin

Starring Jesse Eisenberg, Andrew Garfield, Armie Hammer, Justin Timberlake, Rooney Mara

Releease Date October 1st, 2010 

Published September 30t, 2010

For the past five years Facebook has been rising through our culture and becoming a phenomenon. It's a phenomenon that does not merely exist on its own but captures the rise to predominance of online culture vs. all other forms of discourse. Lives are lived online as much as they are in real life in many cases and much of those lives date back to one night when one 20-year-old college kid had a few beers and banged out the computer code that would cause a social networking revolution.

David Fincher and Aaron Sorkin's "The Social Network" is the mostly true story of Mark Zuckerberg (Jesse Eisenberg), the purported founder of Facebook. There is some question as to whether Mark, now the world's youngest billionaire at 26 years old, actually came up with the idea or if he stole it, adapted it and reaped the rewards. The film takes its shape from depositions in two different lawsuits filed against Zuckerberg by friends and attempted colleagues.

Writer Ben Mezrich used the depositions as well as numerous interviews and investigative reporting as the basis for his sensational book "The Accidental Billionaires" which comes to thrilling and enthralling life onscreen as "The Social Network." Under the expert direction of David Fincher and the whip crack, witty dialogue of writer Aaron Sorkin, the founding of one website and the personalities behind it becomes a dialogue about the modern internet culture and a commentary on the direction of society.

Flashbacks begin and end in "The Social Network" with crash cuts to Mark Zuckerberg sitting in an entirely irritated state in a lawyer's office. Eduardo Severin (Andrew Garfield), Zuckerberg's former best friend and the man who put up the money to start Facebook and Tyler and Cameron Winklevoss (Armie Hammer, in a remarkably non-showy, dual role) are suing Zuckerberg over Facebook but for very different reasons.

Forget the merits of either suit, it's clear Severin had a real beef while the Winklevoss's and their partner Divya Narenda were grasping at straws having simply a generic idea that they asked Zuckerberg to code for them and failed to administer on their own, the lawsuits are merely the ordering device. The meat of "The Social Network" is in the extraordinary casting, acting and writing as well as David Fincher's remarkable talent for setting a scene. 

Jesse Eisenberg plays Mark Zuckerberg as a social illiterate who sees other people as a means to an end. We see at the start of the film a fictional account of Mark on a date with a girl played by Rooney Mara. It's evident to us, if not immediately to her, that Mark has no real interest in her beyond the physical need to be a normal 20 something male being seen in public with an attractive woman. Mara's character is a device but a terrific one; the date establishes who Mark is, his motivations and desires and the scene is filled with smart, fast paced, witty dialogue that gets the movie off to a running start.

Eisenberg owns the screen in this opening scene; his words fly like Edward Norton's fists in "Fight Club" and are occasionally as devastating. David Fincher's "Fight Club" was an indictment of consumer and pop culture disposability and "The Social Network" picks up where "Fight Club" left off by cutting the computer chord that binds the audience to Facebook and showing us the true face of social media, the good the bad and the ugly.

Opposite Eisenberg is Andrew Garfield as the much maligned and abused Facebook co-founder and CFO Eduardo Saverin. Eduardo is the genius and sap who made several hundred thousand dollars as a very young man, pledged some of that money to Mark Zuckerberg and watched his supposed friend attempt to jettison him from the company they founded together. Through Garfield's fierce yet sensitive performance we see how Saverin was seduced, betrayed and bewildered by Zuckerberg and the fast paced, wired world of Facebook.

Justin Timberlake is a lightning bolt of humor and charisma as Sean Parker, the former Napster founder who dazzled Zuckerberg by being the social butterfly Zuckerberg could never be but envied deeply. Parker is the high side of Internet culture, the freewheeling good times, the connections that work out and the potential for trouble that can arise from making connections with people you don't know. He is the polar opposite to Andrew Garfield's Saverin, whose story is another more truthful metaphor for the online experience of attempting to connect with friends and strangers in an online wasteland of forgettable status updates.

Facebook and the culture of social networking are by nature, not important. It brings little to nothing of value to the world. It is the intangible equivalent to candy. It's sweet and tasty or it can be souring, even disgusting. It can brighten your day or make you sick but in the end, Facebook, MySpace and the rest have no value beyond the metaphorical sugar high of faux connectedness.

The strength of "The Social Network" as crafted by David Fincher and Aaron Sorkin lies in recognizing the emptiness of the Facebook world and using the real life creators and their stories as a means of exposing the emptiness. Vapid status updates, perfunctory friend requests and questionable relationship statuses are the heart of Facebook and through the characters of "The Social Network" the stark reality of social networking becomes resonant, jarring messages for audiences merely expecting the sex, drugs and computer coding behind the pop phenomena of Facebook.

In "Fight Club" Edward Norton and Helena Bonham Carter watched the world fall apart around them as they held hands and connected truly for the first time. Facebook and the world of social networking comes crashing down in "The Social Network" and the witnesses are us, the audience, many of whom have spent far too much time taking Facebook far too seriously.

Movie Review: Zodiac

Zodiac (2007) 

Directed by David Fincher

Written by James Vanderbilt

Starring Jake Gyllenhaal, Robert Downey Jr, Mark Ruffalo, Anthony Edwards, Brian Cox

Release Date March 3rd, 2007

Published March 2nd, 2007 

Director David Fincher has a childhood connection to the case of the Zodiac killer. Fincher grew up in Marin County just outside San Francisco and rode a school bus for weeks with a police escort after the Zodiac threatened to flatten the tires of a school bus and kill all the children inside. This memory amongst others of that hyper-paranoid time in San Francisco were the impetus for Fincher's involvement in the movie Zodiac starring Jake Gyllenhaal and Mark Ruffalo.

Though some will connect this serial killer film with Fincher's masterpiece of the macabre Seven, Zodiac is a very different animal. A meditative character piece, Zodiac is a masterpiece of observation and dialogue. Working without the shock factors of Seven or his other masterpiece Fight Club, Fincher cultivates an absorbing tale of procedure.

He also crafts his third masterpiece.

In 1968 two teenagers by a lake in northern California were shot to death with seemingly no motive. Then, less than a year later, two more teenagers, this time on a lover's lane, are shot and one dies. After this murder a letter arrives at newspapers across the bay area and a man who would soon come to be called The Zodiac, claimed credit for the murders. Another murder in early 1970, another couple, in which a woman is killed and her male companion survives is claimed by The Zodiac.

This was only the beginning of the case of the Zodiac, a case that would come to grip the San Francisco police department, amongst other northern California law enforcement offices, for more than a decade. Another murder in 1970, the death of a cab driver on the streets of San Francisco, kept the case open in several different counties in northern California.

Based on the prose of cartoonist turned amateur sleuth Robert Graysmith, the movie Zodiac is a studious recreation of the period of the Zodiac killings and the facts as gathered by Graysmith, the police and the reporters who gave their lives to solving the Zodiac case and failed.

The film stars Jake Gyllenhaal as Graysmith who in the late 60's was the political cartoonist for the San Francisco Chronicle. His path to becoming obsessed with the Zodiac case began with the killers first letter which included a cypher that captured his attention. As a boy scout Graysmith was taught code breaking. He didn't crack the first cypher but future codes he did break on behalf of the Chronicle's top crime reporter Paul Avery (Robert Downey Jr) who made Graysmith part of the case.

On the other side of the Zodiac case were the cops, especially San Francisco detective Dave Toschi (Mark Ruffalo) and his partner Bill Armstrong (Anthony Edwards). Though they were late to the Zodiac case, they caught what is allegedly the last of the Zodiac's murders, it was Toschi who the Zodiac singled out as a worthy opponent and though the film doesn't speculate, Toschi may have been the reason Zodiac came to San Francisco and changeded his M.O from killing couples to the thrill kill of a cab driver.

The evidence uncovered by Toschi and Armstrong is what leads the police to the prime suspect who, in a scene of chilling resonance, is revealed to be far more average than one might expect from a killer who has managed to toy with police and avoid capture for so long. This is just one of many exceptional scenes in Zodiac that add up to an ending some may find unsatisfying but I found liberating and illuminating.

Why did Robert Graysmith become obsessed with the Zodiac? That is a question that only Graysmith could answer and is not something that Jake Gyllenhaal's oddly compelling performance has time to ponder. Gyllenhaal crafts Graysmith as a nervous oddball character whose compulsive personality finds outlet in the investigation of the Zodiac.

First it's the cyphers which intrigue him. Then an odd sense of what he feels is justice takes him over. Though he doesn't question the police commitment to finding the Zodiac, he is convinced that he can help the investigation and thus begins a strange journey into the midst of the case. A series of red herrings and strong suspects distract him for a time but might have been the ramblings of a conspiracy nut soon become the key to revealing who the Zodiac really was.

Robert Downey Jr. nails every moment of his worn down, drugged out reporter in Zodiac. Robert Avery was the Chronicle crime reporter on the Zodiac case and he too was consumed by it, though in a far more self destructive way. Avery, at first, reveled in taunting the killer in his coverage, even calling him a latent homosexual in one controversial column. Soon he is turning up leads and working around the cops to break the case. Unfortunately, it was the case that broke Avery.

Mark Ruffalo has always been a solid actor but he is invigorated working with David Fincher. Ruffalo's is a lively engaged performance. Energetic, smart and even humorous, his Dave Toschi is such a compelling figure that it is no surprise that he was the template for both Steve McQueen's cop in Bullitt and Clint Eastwood's Dirty Harry.

Zodiac is a hypnotic journey. An absorbing police procedural about obsessive characters and the lengths they go in pursuit of their obsession. Even at nearly three hours Zodiac holds you in rapt attention as it unfolds this horrifying tale of a murderer who escapes capture and the men who gave their lives for some semblance closure, even if that closure brought them nowhere close to justice.

Guaranteed to be one of the best films of 2007, Zodiac is the first can't miss movie of the year.

Movie Review Panic Room

Panic Room (2002) 

Directed by David Fincher

Written by David Koepp 

Starring Jodie Foster, Kristen Stewart, Forrest Whitaker, Jared Leto, Dwight Yoakam

Release Date March 29th, 2002 

Published March 28th, 2002 

David Fincher is my favorite director. For the uninitiated, Fincher is the brilliant eye behind the lens of Fight Club and Seven, two stylishly violent, high voltage thrillers that pair catchy visuals with blistering commentary on our consumer culture. Fincher's new film, Panic Room, doesn't aspire to social commentary, it's just a straight edge thriller easy to enjoy as long as you don't expect too much from it.

Panic Room stars Jodie Foster as Meg Altman, a divorcee raising a teen daughter (Kristen Stewart) and looking for a new home. A real estate agent shows Meg a gorgeous New York brownstone. 3-stories, multiple bedrooms, single bath, cable ready, and oh yeah there is this little room built by the ultra-paranoid former tenant. This room is essentially a safe built for a human being, with two feet of cement encasing two feet of steel on each side of the 6 by 10 foot area. 

The panic room is meant to keep the owner safe from a break in. Needless to say Meg and her daughter move in immediately and on their first night there is a break in, forcing Meg and her daughter to put the panic room to use. Unfortunately for Meg, the men behind the break in, Junior (Jared Leto), Burnham (Forest Whitaker) and Raoul (Dwight Yoakam, yes Dwight Yoakam playing a guy named Raoul), need to get into the panic room to get what they came for.

The first half of Panic Room encompasses the character introductions, and explores the space of the panic room and it's very good. Director David Fincher's camera helps build suspense through shadow and light. The props go to Oscar winner Conrad W. Hall's Cinematography as well for giving the apartment and the titular panic room dimension, we want a strong sense of the space and we get that while also ramping up tension between the thieves and our innocent mom and daughter duo. 

Once Meg and her daughter are inside the panic room, the film begins to lose steam. There are still a few good moments but the attempts by the gang to get inside the panic room are right out of MacGyver's playbook as are Meg's attempts to thwart them. It is those MacGyver-like logical leaps like Meg's figuring out how to hook up the panic room’s phone line and Burnham’s oh so lucky guess as to what she's doing that border on the ridiculous. That scene, amongst others, undermines the tension and kills some of the suspense.

Still, Panic Room is not a bad movie. Jodie Foster is good in a very difficult role that seems the least defined of all of the characters. Each of the bad guys is able to communicate their motives and personalities in their interaction with each other while Foster's only interaction for most of the film is her daughter, which is confined to being the protective mother. Forest Whitaker and Jared Leto have good chemistry as a team but Dwight Yoakam seems woefully miscast as Raoul, the supposed intimidator who is more laughable than imposing. 

Visually, Fincher is very much on his game, with unique camera work and one of the most visually interesting credit sequences I've ever seen. Be forewarned: if you have a problem with motion sickness you may want to bring some medicine because Fincher's camera rolling through walls and windows and flying through keyholes and air ducts can be somewhat jarring.

Movie Review The Curious Case of Benjamin Button

The Curious Case of Benjamin Button (2008) 

Directed by David Fincher 

Written by Eric Roth 

Starring Brad Pitt, Cate Blanchett, Mahershala Ali, Taraji P. Henson, Tilda Swinton, Juliette Binoche

Release Date December 25th, 2008

Published December 23rd, 2008

It is extraordinary what technology can do in the movies these days. In The Curious Case of Benjamin Button 45 year old Brad Pitt ages from a little old man to a youth ripe teenager before our eyes. It's stunning really and yet still remote. That is the nature of modern special effects. For all the genius and wonder, technology will never be able to replace one person relating to another on the most human levels.

Brad Pitt does what he can with the role that is given him in The Curious Case of Benjamin Button. It's unfortunate that beyond the technology, there isn't a whole lot there. In 1918 a baby boy was born and seemed as if he should have died. He was aged, infirmed. He had cataracts and arthritis. He was abandoned by his father on the doorstep of an old folks home where the kindly nurse Queenie (Taraji P. Henson) took him in. He wasn't supposed to live through the night.

Several years later Benjamin is a little boy with all of the wonder of youth but he looked like a man in his 60's. When Benjamin was 13 years old he met Daisy Fuller. She was a few years younger but her keen intuition told her that Benjamin was somehow no different than herself. They became friends and every weekend, when Daisy came to visit her grandmother, they would play together.

When he turned 17 Benjamin took a job on a tugboat under Captain Mike (Jared Harris). Benjamin went all over the globe. In Russia he had his first kiss. He went on to war and eventually back to New Orleans. He and Daisy would reconnect and their love story is the centerpiece of The Curious Case of Benjamin Button.

The most curious thing about Benjamin Button is that nothing much interesting happens to him. Yes, he went around the world but we don't see much of his travels. We see him in Russia but most of those scenes are spent in a hotel lobby. He went to war and was part of a notably sad incident but if you are waiting to see it play out as an aspect of his life and you will be left waiting awhile.

As written, the character of Benjamin Button is a blank screen in front of which colorful characters pass and are soon forgotten. Brad Pitt's contribution is his handsome visage which begins weathered under heavy makeup and CGI and slowly becomes more perfect and handsome. I know some will not require much more of Mr. Pitt but I did. This is a character filled with possibility and Mr. Pitt doesn't seem to explore the space. He remains a blank screen, only becoming active in a few scenes where he and Cate Blanchett send each other smoldering gazes. They are smoking hot together but again, I needed something more.

Cate Blanchett on the other hand smolders and suffers and delivers the one truly in depth performance in The Curious Case of Benjamin Button. Under extensive amounts of makeup, Blanchett and Julia Ormond as her daughter slowly recall the story of Benjamin from his diary. Blanchett is then seen as a young ballerina with porcelain skin that would shame Edward Cullen in sunlight. Blanchett is radiant and carrying almost all of the film's dramatic burden she damn near makes the movie work. Sadly, Pitt's blank slate and a script by Eric Roth that turns Benjamin into an old man version of Forrest Gump, leaves Ms. Blanchett dancing all by herself.

Director David Fincher is an artist beyond reproach. The way he melds the CGI and the real world is astonishing. Even more impressive are the scenes he creates with little help from the computers. A scene where Ms. Blanchett is seen dancing on an empty stage while attempting to entice Benjamin into their first trust is unbelievably beautiful. It's a scene that will be part of my memory for the rest of my life, even as the movie as a whole will fade relatively quickly.

There are breathtaking images in Benjamin Button which lay the uninvolving story all the more bare. I went in hoping to get some insight into a very unique character and left knowing what I knew about Benjamin Button when I came in. He is a boy who ages backwards. That alone is notable but how does it really affect him? What is his inner life like? The screenwriters never figured that out. What's left are a series of images and colorful supporting players and little to no insight into the man whose name is in the title.